Composers From The United States

"I have an inner gage when I feel it’s too much, then I just don’t do a particular film. I’m lucky that I get more offers than I can possibly take. But I always want the phone to be ringing, because I want to do this for the rest of my life. I don’t plan on slowing down, but I certainly have to say “no” more and more. I consider myself very lucky to make a living at this. It’s almost bizarre for any musician to turn down work as much as they to have to keep themselves sane. I know what my limit is. And I keep myself at that limit."

"There were two times in my life that inspired me the most. The first was when I was a kid, probably the most emotionally influential time, when you’re naïve and innocent. I went to movie theaters and fell in love with genre films in the 1950s, when there was a big wave of monster movies. My passion came from the young guy who was watching The Fly back in 1958. Then, going to USC I began to watch movies in a different way and was exposed to different kinds of movies, foreign films. We had directors like Orson Welles, Alfred Hitchcock, Howard Hawks and John Ford come down and lecture us. It was unbelievable!"

"When I think of John Carpenter, I am amazed at the fact that we take him for granted. How can we? Why should we? He is lightning in a bottle"

"I staggered through my career and came out the other end, alive. I made some films that meant something to me. In my opinion, they weren’t all great, and they weren’t all successful, but they sure were ‘me’. And this is what I was going through or thinking or feeling as a director at the time, and I’m very proud of them. A lot of great directors just never had the chance to have their work appreciated and celebrated and watched, all these years after they were made. So, man, what do you want out of life? It’s great!"

"Marching into the woods in the darkness I'm Robin Hood breaking your fortress Light it up start the fire, gonna strike you Step aside cause I’m on my way to Rome, yeah I'm made of stone I walk the road alone Fighting for my throne Woah oh"

"Hear the beat of the drums Woah oh You better run run Woah oh Hear the beat of the drums Woah oh Cause I'm a warrior, I'm a warrior Cause I'm a warrior"

"Will you remember my name or at the end of the night is it all a game Or will you hold on to my hand together forever we will stand Or the sun will rise and you’ve had your prize And you don’t even know the color of my eyes"

"Tonight I’m gonna make you mine Oh wait, that’s not supposed to be my line I’m waiting on you to make your move Boy I know that you think your smooth Show me what you got cause I got a lot Come on set your trap I want to get caught"

"You’re falling all over me I’m losing myself in your mystery I’m afraid of loving you, I’m afraid of losing me I’m over my head and I’m seeing red But I’m waiting right here for you in my bed"

"Star Wars Episode IV: A New Hope (1977) is probably the most influential film of my generation. … That movie was the personification of good and evil and the way it opened up the world to space adventure, the way westerns did to our parents' generations, it left an indelible imprint. So, in a way, everything that any of us does is somehow directly or indirectly affected by the experience of seeing those first three films."

"When I was a kid and saw Star Wars: Episode IV - A New Hope for the first time, it blew my mind and around the same time, I had friends who were huge fans of Star Trek and I don’t know if I was smart enough to get it, or patient enough. What I loved about Star Wars was the visceral energy of it, the clarity of it, the kind of innocence and big heart of it. Star Trek always felt a little bit more sophisticated and philosophical, debating moral dilemmas and things that were theoretically interesting, but for some reason I couldn’t get on board. It really took working with all these guys and actually working on Star Trek for me to fall in love with that."

"I’ve always liked working on stories that combine people who are relatable with something insane. … The most exciting thing for me is crossing that bridge between something we know is real and something that is extraordinary. The thing for me has always been how you cross that bridge."

"Of course there is a monkey. There is always a monkey."

"We went from the silent era to the sound era, and now we’ve done it again. Now that we’re digital, I assume we will stay digital for at least 50 years. Everybody says, "Oh, you’re going to replace actors." You can’t replace actors. We’ve created duplicates, clones, but they can’t act. They’re a computer, for God’s sake. If you think back to what was done in the Star Wars films, it unbridled people’s imaginations. That of course fueled the business at ILM because they were being approached more and more to keep raising the bar. Actors will not be replaced: worst case scenario, they’ll have to wear a lycra leotard!"

"The experience I had seeing Star Wars for the first time was mind-blowing. Eleven is a great age to have your mind blown. I will never forget that feeling of seeing "Long time ago, in a galaxy, far, far away" fade out. It was the first time a movie made me believe in another world that way."

"It was nothing that I think any one of us took on because it was a gig that was available. It was something that felt like a true passion and something that every single person brought much more than any of us could have expected. … I do honestly feel honored to be part of this group."

"As life goes on I'm starting to learn more and more about responsibility."

"It's been so long that I haven't seen your face I try to be strong."

"Nobody wants to see us together, but it don't matter. No, because I got you babe."

"When I see you I run out of words to say I wouldn't leave you, Cause you're that type of girl to make me stay."

"Yo, this one here, goes out to all my players out there man, you know."

"Jim giggled when he laughed. His sense of humor could be sly and wicked."

"The people who worked for Jim felt like family and he treated them like family."

"Henson gave his creations such vivid personalities, wit and expressions it was easy to believe each had a beating heart beneath the felt."

"Henson was an innovator from the start: At a time when many TV puppets relied on wood and strings, he opted for softer materials like felt and foam. This enabled his creations to express a range of emotions, unlike, say, an eternally grinning Howdy Doody."

"While there's no doubt Henson was a master craftsman and puppeteer, his true artistry lied in the way he channeled his soul into his work."

"Henson may have preached self-belief, but all his stories find people desperately in need of (and finding!) help from others. Despite the sometimes insufferable can't-we-all-just-get-along aspect of Sesame Street (and let's face it, Fraggle Rock) much of Henson's work dealt more seriously with human suffering, both self-inflicted and otherwise. The Dark Crystal (1982) is nothing if not a parable of Fall and Redemption, and Labyrinth (1986) has a distinctly Pilgrim's Progress-like, um, progression. Henson may have believed with all his heart in a "positive view of life," but his work reflects a larger truth."

"Indeed, Henson understood that to truly reach another person, you must aim beyond the intellect, at the heart—at the unguarded, joyful corner of the soul known as the inner child, which, incidentally, is where Jesus was especially focused. Puppetry and humor were Henson's tools for penetrating adult defenses."

"While the post-Henson outings have all had something to recommend them, his absence has been acutely felt, not the least in the character of Kermit, whom Henson voiced. One almost wishes the Muppet-verse had had the good sense to retire the green felt when Henson shuffled off the planet. Kermit's scenes are too often marred by the nagging (and distracting) feeling that we're dealing with an imposter—a toad in frog's clothing, if you will."

"Jim was tall. He was gentle. He sounded like Kermit when he talked. He was enthusiastic and filled with ideas. He was also an astonishing performer."

"There's not much to the Kermit puppet—it's practically a sock. But when it was on Jim's hand, there was another creature in the room."

"Henson was, by all accounts, a bit of a saint. Read any biography of the man, and you will walk away almost suspicious of his overwhelming decency and personal integration, his unfailing optimism and boundless energy. What made the biggest impression on those around him was apparently not his astounding creativity, but the passionate and compassionate way he lived his life."

"... Henson reportedly distanced himself from his church as he grew older, downplaying sectarian concerns for the sake of reaching a wider audience with his somewhat amorphous message of hopes and dreams and rainbow connections. (The urban legend that Henson died because of Christian Science-based refusal to receive medical care is just that: an urban legend.) Vestiges of Mary Baker Eddy do surface occasionally in his work, in the form of a can-do sunniness about the human condition that would be a lot more cloying if it weren't dressed up in so much inspired silliness."

"I've never felt any sense of competition with anybody, and we're all friends. We're all good friends."

"Silliness, in fact, is where Henson shone. It kept the feel-/do-good-ism from ever succumbing to the piety of political correctness."

"People shouldn't come expecting to see the Muppets because they are not here. This is something else."

"His faith in humanity began from an acknowledgement of limitation, not an illusion about perfectibility. He knew that joy flowed from honesty, rather than around it—sound familiar? In a similar way, Christians, whose identity is found apart from our ever-changing and often hopeless abilities and attributes, are free to laugh at ourselves. This is part and parcel of Christian joy."

"I was very interested in theatre—mostly in stage design but I did a little bit of acting."

"I couldn't do ventriloquism. I don't have any interest in splitting myself in two, the way a ventriloquist does — half-himself, half the dummy on his knee."

"Frankly, I'm a lot more comfortable if I'm wearing a puppet."

"It's an adventure story. But it's definitely not in our world."

"I've always thought that science fiction films set in our world have always rung false."

"There must be a lot of shy actor in puppeteering. His work is the puppeteer's statement. It's his outlet. If I had to face the audience myself, as Jim Henson, I'm sure I'd be just a bit shy. But when it's your puppets that face the audience, it's different. That I can do very easily."

"Personally, I prefer working in the background."

"As children, we all live in a world of imagination, of fantasy, and for some of us that world of make-believe continues into adulthood."

"Sesame Street (1990-93)"

"Even as a kid, I felt isolated. Isolation makes you sensitive. As a kid, I felt I was the only person who was like that. But there's a good side to isolation. It makes you sensitive, and sensitivity is part of the creative process."

"I always felt that I was not a part of things in general. I've always been outside of things."

"There's great value in being able to step back and laugh at yourself, at life and at attitudes. Laughter helps you put everything into perspective."

"What Jim wanted to do, and it was totally his vision, was to get back to the darkness of the original Grimm’s fairy tales. He thought it was fine to scare children. He didn’t think it was healthy for children to always feel safe."